This work is based on 15 years of entries in the diary that I’ve kept since age eight. Through creating this work I was searching for freedom from my preconceptions about animation and myself.

This work is based on 15 years of entries in the diary that I’ve kept since age eight. Through creating this work I was searching for freedom from my preconceptions about animation and myself.

This work is based on 15 years of entries in the diary that I’ve kept since age eight. Through creating this work I was searching for freedom from my preconceptions about animation and myself.

This work is based on 15 years of entries in the diary that I’ve kept since age eight. Through creating this work I was searching for freedom from my preconceptions about animation and myself.

Things are kind of crappy right now. In Japanese, we say "hanakuso (nose snot)" instead of crap, though. Here's a dose of hope and giggles.

Things are kind of crappy right now. In Japanese, we say "hanakuso (nose snot)" instead of crap, though. Here's a dose of hope and giggles.

Things are kind of crappy right now. In Japanese, we say "hanakuso (nose snot)" instead of crap, though. Here's a dose of hope and giggles.

Things are kind of crappy right now. In Japanese, we say "hanakuso (nose snot)" instead of crap, though. Here's a dose of hope and giggles.

Things are kind of crappy right now. In Japanese, we say "hanakuso (nose snot)" instead of crap, though. Here's a dose of hope and giggles.

Directed by Japanese filmmaker Ryo Orikasa, this animated short was inspired by Henri Michaux’s book of poetry and drawings of the same name, about his experiences with mescaline. The film explores the limits of language and perception, creating connections between sound, meaning, shapes and movement.